When Melodies Gather: Oral Art of the MahraMain MenuOverviewAcknowledgmentsBorn to be Digital?About the MahraHuman and Geographical ContextFind Your PoemTheory of ClassificationIndex of PoemsGlossary (please wait while the terms load)BibliographiesbibliographySamuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10
12017-10-10T20:51:38+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a1282415cyoa11plain2018-06-08T22:00:26+00:00branching_parent_pageStanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824
You’ve chosen to compose a poem that utilizes the more quotidian, two-part (hemistich) line structure. This is the default mode of Mahri poetics: hemistich lines can be used across the spectrum of Mahri poetics, from its finest exemplars to poetic lines by rank amateurs. Opting for hemistich lines means that you’ll have the latitude to compose a poem as you wish, free from the formal complexity and heightening expectations of three-part, tristich compositions. The next question concerns a practical matter:
How much time do you and your audience have?
I’ll need some time to express my idea.
I have to come up with a catchy line, quick!
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12017-10-10T20:51:40+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824Genre Unmarked (Occasional)Samuel Liebhaber3cyoa5plain2018-05-07T18:39:24+00:00branching_parent_pageSamuel Liebhaber92edd610c0d14d00181bd949250cbe90dae08f10
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12017-10-10T20:51:38+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824Multiline Monothematic (Hemistich)4cyoa22plain2018-05-30T23:59:57+00:00branching_parent_pageStanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824
12017-10-10T20:51:38+00:00Stanford University Pressaf84c3e11fe030c51c61bbd190fa82a3a1a12824Couplet (Hemistich)3cyoa23plain2018-04-14T19:14:02+00:00branching_parent_pageAngela Erismanb6dabb1f11fcdb28bac14756ccc7be44d987971a